Évariste Parny, Selected Poetry and Prose of Évariste Parny: In English Translation, with French Text. Edited by Françoise Lionnet. Translated by Peter Low and Blake Smith

2019 ◽  
Author(s):  
Christie Margrave
Keyword(s):  
French Text ◽  
English Translation

scholarly journals Behind the Early Modern English Translation of The Laws of Oléron: Determining the Underlying French Text

2021 ◽  
Vol 69 (6) ◽  
pp. 115-137
Author(s):  
Kinga Lis
Keyword(s):  
French Text ◽  
Sixteenth Century ◽  
Early Modern ◽  
Fourteenth Century ◽  
Thirteenth Century ◽  
English Translation ◽  
Early Modern English ◽  
French Texts

The objective of this paper is to analyse the sixteenth-century French texts which might lie behind an Early Modern English translation of a sea-code known as the Laws of Oléron, in an attempt to determine which of them served as the actual basis for the rendition. The original code has been dated back to the thirteenth century, with the earliest extant copies coming from the fourteenth century, at which point it was already known and used in England. It was not, however, before the sixteenth century that a translation was commissioned and appeared in a book called The Rutter of the Sea. The publication in question went through multiple editions and the views concerning the French text that served as the basis for the rendition diverge greatly. This paper analyses the various proposed theories and juxtaposes the actual French texts with each other and the Early Modern English translation.

Le metier de bibliothecaire dans une bibliotheque d’art

1993 ◽  
Vol 18 (3) ◽  
pp. 4-9 ◽  
Author(s):  
Jacqueline Viaux
Keyword(s):  
French Text ◽  
Special Interest ◽  
English Translation ◽  
Detailed Knowledge ◽  
English Version ◽  
Works Of Art ◽  
Library Users ◽  
The Subject ◽  
First Time ◽  
Selection Of

Art libraries are different from other libraries; they require of art librarians a broad knowledge of art, with a more detailed knowledge of any aspects of the subject in which the particular library has a special interest. This kind of knowledge cannot be acquired entirely from books, but must also be gained from direct encounters with works of art, and by immersing oneself in different places and cultures. Art librarians must also be prepared to learn about art librarianship from colleagues at home and abroad, and about the needs of library users from the users themselves. Yet on occasion the demands of users, as well as the meddling of administrators, must be resisted. Art librarians must apply their knowledge not only to the selection of books, but also to the provision and organisation of visual resources, and to assessing both the value and the limitations of databases. [An English version of this paper appeared in ARLIS NORDEN INFO 1992 no. 2/3; the French text is published here for the first time, and is followed by a new English translation].

scholarly journals On the Earliest English Translation of the Laws of Oléron and Its Editions

2020 ◽  
Vol 55 (1) ◽  
pp. 79-118
Author(s):  
Kinga Lis
Keyword(s):  
French Text ◽  
Early Modern ◽  
English Translation ◽  
Western Europe ◽  
16Th Century ◽  
Mutual Relationship ◽  
Early Modern English ◽  
History Of ◽  
The Relationship ◽  
North Western

Abstract The Laws of Oléron are a compilation of regulations binding in north-western Europe. They concern relationships on board a ship and in ports, as well as between members of one crew and those of another when it comes to safe journey. Even though the “code” was known in England at the beginning of the 14th century, it was only in the 16th century that it was translated from French into (Early Modern) English. The literature on the topic mentions two independent 16th-century renditions of the originally French text (Lois d’Oléron) but disagrees as to the authorship of the earliest translation, its date and place of creation, the mutual relationship between the two, their content and respective source texts. Strikingly, three names appear in this context: Thomas Petyt, Robert Copland, and W. Copland. The picture emerging from various accounts concerning the translations is very confusing. It is the purpose of this paper to trace the history of the misconceptions surrounding the Early Modern English versions of the Laws of Oléron, and to illustrate how, by approaching them from a broader perspective, two hundred years of confusion can be resolved. The wider context adopted in this study is that of a book as a whole, and not of an individual text within the book, set against the backdrop of the printing milieu. The investigation begins with a brief inquiry into the lives and careers of the three people named with respect to the two renditions, in an attempt to determine whether these provide any grounds for disagreement. The analysis also juxtaposes the relevant renditions as far as their contents, layout, and the actual texts are concerned in order to establish what the relationship between them is and whether it could account for the confusion surrounding the translations.

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